In a very different vein are the abstracts by Betty Woodman, who lived for decades in Boulder but now divides her time between New York and her farmhouse in Italy. Woodman takes similar shapes, colors and patterns that she employs in her more famous ceramics, as shown in "Kimono." Next to the Woodmans is an in-depth look at a group of vaguely geometric abstracts by Bernard Cohen, the artist who first worked with Shark way back in 1976 and helped to launch Shark's Ink.

On the other side of the Woodmans are a group of Robert Kushner's expressionist flower-based abstractions, most of which are dramatically colored. On the wall to the right are magical figurative pieces, including one of an Egyptian sarcophagus, by Jane Hammond. Next to the Hammonds are a cluster of charmingly childlike images by the late Hollis Sigler, whose display wraps around the corner. The last of the artists included is Hung Liu, who's done several figurative works that are rich with references to the artist's birthplace, China, and especially to its Maoist past, which she experienced as a child.

"De Kooning Breaks Through," by Red Grooms, color 3-D lithograph.
"De Kooning Breaks Through," by Red Grooms, color 3-D lithograph.
"The Lamp," by John Buck, color woodcut.
"The Lamp," by John Buck, color woodcut.


Through June 28, MCA Denver, 1485 Delgany Street, 303-298-7554,

Given space constraints, it's impossible to mention all the fine things in this exhibit. Suffice it to say that Shark's Ink just might be the best show presented at MCA since the new building opened in the fall of 2007.

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